


12x4: Julieta

by TheXFilesVirtualSeason12



Series: The X-Files Virtual Season 12 [4]
Category: The X-Files
Genre: Alternate Season/Series 11, Case Fic, F/M, Heavy Angst, Monster of the Week, Post-Episode: s11e10 My Struggle IV, The X-Files Revival, Virtual Season/Series
Language: English
Status: Completed
Published: 2019-01-23
Updated: 2019-01-23
Packaged: 2019-10-14 22:43:27
Rating: Teen And Up Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 1
Words: 7,808
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/17517206
Author URL: https://archiveofourown.org/users/TheXFilesVirtualSeason12/pseuds/TheXFilesVirtualSeason12
Summary: The fate of Monica Reyes is revealed as both her past and present collide.





	12x4: Julieta

**Author's Note:**

> Special thanks to Paislie Hadley for the cover art!
> 
> “The X-Files” was created by Chris Carter and is the sole property of 20th Century Fox Television. This script is purely “fan fiction” and was not written for any monetary gain.
> 
> Written with Adam Silva from X-Cast.
> 
> See more at http://virtualseasons.x-sites.org/

 

 

THE X-FILES

12x4

"Julieta"

Teleplay By

Valerie Kelly

Story By Adam Silva

 

TEASER

FADE IN

SCENE 1

FLASHBACK

A YOUNG, BROWN HAIRED GIRL jumps excitedly on the couch in front of a black and white TV showing "Casper the Friendly Ghost." A WOMAN calls to her in a Spanish accent.

WOMAN (O.S.)

Julieta! Julieta! Come, dinner is ready.

The girl turns her head towards the kitchen.

GIRL

Coming, Tia!

The young girl excitedly follows her nanny into the kitchen.

She reaches out and gently tugs on her skirt.

GIRL

Tia, when are Mama and Papa coming back?

WOMAN

Your papa had a very important business trip, Julieta. He is a busy man.

The plump Hispanic woman smiles affectionately at Monica and gingerly places her hand on her head.

WOMAN

But I'm here with you...and together we aren't lonely, right?

Monica eagerly shakes her head.

REYES

No, we aren't, Tia! We have each other!

WOMAN

That's right and tonight I made your favorite Sopa.

REYES

(Excitedly)

Sopa!!! Grazie, Tia!!

WOMAN

After dinner you'll need to turn off the TV and start your homework.

REYES

(pouting)

Si, Tia.

 CUT TO:

PRESENT DAY

MONICA REYES opens her eyes. We see a bullet wound in the center of her forehead that made its way through the windshield of the SUV. She looks over to see the vacant passenger seat next to her in confusion. The last thing she remembers is fighting the smoking man over the wheel of the car after he forced the car into drive. She touches the wound in confusion. She exits the car and slowly walks away.

FADE OUT

END OF TEASER

ACT ONE

SCENE 2

FLASHBACK

A twelve year old Monica Reyes enters her family home and looks around and she's suddenly filled with an ominous feeling. She peruses the hallway and into before A MAN calls from the living room.

MAN

Monica, come here honey.

REYES

Papa?

Setting her backpack down on the floor, Reyes moves to see her parents pacing around. Mrs. Reyes looks up at their daughter and walks towards her with a solemn expression on his face. He gets down onto his knees and looks into her eyes. Reyes suddenly feels sick to her stomach. She couldn't explain it, but she had been feeling something was off the entire day.

MRS. REYES

Honey...we have some bad news about Mrs. Gutierrez.

Reyes moves to open her mouth, but her father continues.

  1. REYES



Mrs. Gutierrez passed away this morning.

Reyes looked down as her eyes filled with tears. She shakes furiously.

REYES

Papa...no. No!

  1. REYES



(empathetic)

I'm so sorry baby.

REYES

(sobbing uncontrollably)

No, she can't be gone!

MRS. REYES

She loved you so much sweetie.

Mrs. Reyes walks over to her husband and daughter in an attempt to console their daughter. Mr Reyes pulls his daughter into the crook of his arm while looping his other around his wife as the three of them grieved.

CUT TO:

SCENE 3

PRESENT DAY

Norfolk, VA

Reyes slowly gets out of the car and she can hear a faint moaning sound ahead. Curiosity getting the better of her, she inches forward as she recalls Spender taking control of the wheel and stepping on the gas just before she was shot by Skinner. As she gets closer, she sees Skinner's lifeless body wedged between the two cars. She feels torn.

Before she could decide what to do, sirens are heard in the distance.

REYES (HESITATING)

Help is coming, hang on.

She hesitates for a moment and feels conflicted. Why did he shoot her? All she wanted was to bail after leading the smoking man on while helping Scully and Mulder find their son.

Realizing how this would all look if she remained on the scene, she started to back away.

As Reyes walks away from the scene, she hears sirens wailing in the distance and quickly picks up the pace.

She rounds the alley corner and starts to hear the sounds of sirens growing closer. After she does a quick survey of her surroundings, she concludes the closest escape routes to her were the freeway and a fence that she was unsure of what lay beyond.

Voices draw closer to the scene and she starts to run.

REYES

Shit...shit, shit!

In a split second she decides to try the fence.

FADE OUT

CUT TO:

SCENE 4

FLASHBACK

Sixteen year old Monica Reyes sits in a 1976 Camero with a blonde haired teenage boy. The boy takes a long drag of a cigarette before slowly releasing it into the air. He turns towards Monica, extending it towards her with a smile.

Reyes hesitates.

REYES

I don't know Matt, I've never smoked before. My parents probably wouldn't approve.

Matt holds out the cigarette closer to Monica almost tauntingly.

BOY

Well, they aren't here now are they?

Reyes feels a sudden urge of rebellion. For so many years she followed her parents wishes right down to a tee. She also refrained from coming out as bisexual, fearing how they'd react. It was becoming more difficult and she so badly wanted to allow herself to be free of those reigns. Everything had been so different since Mrs. Gutierrez passed away.

REYES

I guess one hit wouldn't hurt.

Matt grins and Monica's chuckles as she accepts the offering and proceeds to take a drag, allowing the cancer stick to permeate throughout her entire being. She closes her eyes and releases a slow breath. Turning towards Matt, she moves closer and they kiss.

CUT TO:

SCENE 5

PRESENT DAY

NORFOLK, VA

Reyes, having found her way to the docks, pulls a pack of Morleys that had been stashed in her coat and shakes the carton into her hand as she stares out into the dark waters before her.

When the carton refuses to give way, she frowns and pulls a cigarette from the container. As she does, a searing pain slices through her temple and she is confronted with an image of the smoking man.

The pain subsided several moments later. Enraged, she clenches the pack in her hand and hurls it into the harbor.

CUT TO:

SCENE 6

FLASHBACK

Engraved lettering along the forefront of a large house indicates it belongs to a sorority. Inside is a large bustling party. Men and women are inside dancing and drinking among the large crowd as heavy metal music blares in the background.

Towards the back, we see Reyes sitting at the bar, idly tapping her martini glass on the counter as she savors the atmosphere. She smiles as a redheaded woman moves to sit next to her.

Reyes smiles in greeting and the girl smiles back before taking a seat.

REYES

(Grinning as she takes a swig of tequila)

The next one is on me.

She sets the glass down with a thud, turning towards the familiar woman next to her.

WOMAN

(enthusiastically)

Hey! Great party Mon!

REYES

(smiling)

Thanks, but I can't take all the credit, Val.

Valerie suddenly loops her arm through Monica's, inviting her closer. Monica laughs. She's been spending the past hour pounding drinks and contemplating her life and her buzz was turning into a full on drunken escapade. As her head swirls, she does her best to ground herself before turning to her friend.

REYES

(signaling the bartender)

Can I get a couple shots of Jack, please?

BARTENDER

Coming right up!

REYES

(Turning towards Valerie)

You know, you never told me your birth date.

VALERIE

(grinning)

You never asked. It's June 8th.

The bartender places the filled shot glasses in front of them and both women reach for them.

REYES

Happy early birthday, cheers!

VALERIE

(raising her glass)

Cheers!

They both down the shots at the same. Reyes comes up for a breath and asks for a Coke.

VALERIE

I take it you don't normally drink this much alcohol.

REYES

Not really, no.

Reyes is thoughtful for a moment, fighting the alcohol and smiles.

REYES

(suddenly)

You're a two.

VALERIE

(scoffs)

You wanted my numerology number? Why didn't you just say so?

REYES

(Turns in her seat to look at her companion)

Twos are often underestimated when it comes to their power and strength, yet they are well known for their loyal and diplomatic tendencies. They like to keep peace and avoid confrontation, yet their artistic sophisticated nature are uncanny.

VALERIE

(laughs)

So now you know all about me, huh?

REYES

(grinning)

Do you find that intimidating?

VALERIE

No, but I'll be honest I've been watching you for some time now and you're definitely mysterious.

Reyes doesn't answer and instead, she leans forward as their fingertips on the bar counter touch. Her heart is bounding beneath her chest as she feels a rush of adrenaline. Valerie moves closer as Monica cups her face and they lean and kiss.

CUT TO:

SCENE 7

PRESENT DAY

UNDISCLOSED LOCATION

Reyes runs through another abandoned building. The interior of the building is equipped with old machinery and a deserted feel that mirrored the Sugar Factory that Mulder led them to.

Thankfully, there is some natural lighting as she did not have her flashlight on her to guide the way. She is unsure of where she is going, but determined to get away. Maybe then she could figure out what to do next.

In the distance, she hears voices, but they seem to be waning. Coming to a sudden stop, she leans against a cement pillar. Her hands scan her coat, hoping she was still armed and hadn't lost her weapon after everything that had happened.

We hear a thumping sound from above.

She pulls a gun from her coat and sinks to the ground. Her breathing is heavy and sweat starts to bead her forehead as her pulse races. She remains that way for what seems like several minutes. Suddenly, the sound from above dissipates and she takes a deep breath. Turning the revolver in her hand, she stops and stares at it. As she feels the cool steel in her hand, her mind wanders back to where it all started.

CUT TO:

SCENE 8

FLASHBACK

Reyes is seen fetching the mail before she enters her apartment. She throws open the door to her modest apartment and tosses her bag onto the nearby couch. She sifts through the mail quickly before making her way into her kitchen and tosses the mail onto the kitchen counter.

A shorter brunette walks into the living room, happy to see her.

VALERIE

Hey, Mon. Any new leads?

Monica startles and turns toward her girlfriend from the kitchen.

REYES

No luck. I swear, I'm going to have to take a gig at the supermarket if something doesn't come through soon.

Reyes suddenly turns to glance at the mail pile she had just tossed to the side. We see the words Federal Bureau of Investigation on top of the return address. She realizes she must have missed it before and reaches to grab and tear the piece of mail open.

Shrugging out the letter from the envelope, we see there is an FBI logo underneath the header of the paper. It is an offer letter.

REYES

(gasping)

Holy Shit.

Valerie walks closer and peers over her girlfriend's shoulder curiously.

VALERIE

What is it? REYES:

(sputtering in excitement)

I passed all the background investigations and physicals. Pending completion of the field training courses, I've been accepted into the FBI Academy.

Valerie suddenly looks concerned. She is not happy about this because she is unsure of what it would mean for their relationship. While she prides herself on being supportive, she is genuinely worried about Monica.

VALERIE

(sighs)

Mon...Monica. I--I'm not sure how I feel about this. I know it's what you want, but it's also a dangerous line of work.

Monica turns towards her and sighs. She didn't blame her for worrying. Even her parents worried about her going into such a dangerous profession, but she needed to prove she was capable of doing this. She wanted to make a difference in people's lives.

REYES:

I know, Val, but I got this. *We* got this.

Moving towards Valerie, she places her hands on either side of her face and gently runs her fingers over her cheek before placing a soft kiss to her lips.

CUT TO:

SCENE 9

PRESENT DAY

UNDISCLOSED LOCATION

Hours later, Reyes finally escapes the abandoned building she'd been hiding in once she was sure it was safe. She runs as far as she possibly can, utilizing trails she found underneath the freeway passes.

Once the sun had risen, Reyes managed to hitch a ride on a tour bus filled with school aged children that was headed toward Washington D.C. She averts her gaze in an attempt to remain unnoticed.

Reyes stairs out the window as the bus makes its way toward its destination. A tour guide is talking speaking, explaining what was in store at the final destination for the bus' passengers but she is not paying attention.

Reyes closes her eyes and shifts through her coat, pulling out her FBI badge as she feels the relief of the weight of her gun in her coat pocket.

She looks down at her FBI badge and contemplates what's next for her.

CUT TO:

SCENE 10

FLASHBACK

FBI HEADQUARTERS

WASHINGTON D.C.

Reyes is wearing a graduation uniform as she walks up to a podium to receive her diploma after her name is announced.

The audience cheers and she smiles as she spots her parents waving to her. She continues to make her way down the podium.

Once the ceremony is over, she runs towards her parents and they happily embrace her and kiss her on the cheek. They take several photographs in the midst of other graduates and their families.

CUT TO:

Reyes sits at the bar and the bartender pours her a congratulatory drink once she explains she had just graduated today.

A MAN sinks into the seat beside her. We see that it's a young BRAD FOLLMER. Reyes turns towards him and laughs as she swirls her martini.

MONICA

Hey.

FOLLMER

Hey yourself.

Follmer moves towards Reyes and she makes no attempt to move as he pulls her in for an unexpected kiss. After several moments, he pulls away and looks into her flushed features.

He smiles and moves back to his seat.

FOLLMER

That pretty face of yours is going to get places within the FBI, Monica.

REYES

(playing with the glass of her martini)

Oh, I don't know about that, Brad. My girlfriend and I broke up because she didn't approve.

FOLLMER

(Follmer smirks, leaning in to whisper)

That sure is a shame for her.

FOLLMER

I have a feeling we'll be working pretty closely from now on.

Reyes grins and Follmer moves to slap her ass from behind.

REYES

How close?

FOLLMER

You'll see.

FADE OUT

END ACT ONE

ACT TWO

SCENE 11

FLASHBACK

Reyes walks down the halls of the New York field office, listening to the sound of her heels click as she replays her words over in her head. She's spent a considerable amount of time trying to connect the case of Luke John Doggett and ritualistic crime and how she could put that expertise to use in this case to help this man, a devout father and cop, find his son.

She reaches up to knock on a door and steels a deep breath as she hears the voice on the other side tell her to come in.

REYES

Agent Doggett?

Doggett looks up from the file in his hand, his face grim but surprised. He was startled by the young woman in front of him, at least 8 years or so younger. She couldn't have been out of the academy for more than a couple years.

He musters up a smile and extends his hand toward Reyes in greeting. Reyes takes it eagerly. She looks into his blue eyes and immediately senses his good nature and smiles.

DOGGETT

Agent Reyes I presume? John Doggett.

REYES:

(smiles)

Yes, I was assigned to work on the case involving your son, Luke Doggett.

Doggett nods, turning back to the file and busying himself with it.

DOGGETT

Have you looked at the case already?

REYES

(Nodding, empathetic)

I have. I'm going to do everything in my power to help you find your son.

Doggett hums and continues flipping through the file, not looking back at Reyes.

As she watches him, Reyes feels a sinking feeling in the pit of her stomach. Something was telling her that this would be one of the hardest cases she may ever have.

CUT TO:

SCENE 12

PRESENT DAY

The bus ride feels like an eternity. Reyes closes her eyes and tunes out the chatter and noise of the passengers in the bus. She sifts involuntarily through her pockets and finds her cell phone. Opening her eyes, she pulls out the device and switches the power to on. As it booted up, she was constantly reminded of the draining battery. 25%. It was the only way she could conserve the battery until she got where she needed to go, which she still had no idea. First world problems as they say.

She scrolls through the contacts and stops once she gets to John Doggett's name. She takes a deep breath and hesitates.

After all these years, she's kept his number in her phone and every now and then she looks it up, but something stops her from pressing the call button each time.

CUT TO:

SCENE 13

FLASHBACK

Doggett and Reyes are at a crime scene. Everything seemed to move as if in slow motion. Reyes joins the group of detectives and nearly vomits at the sight of the boy laying ashen among the field. Little did she know this scene would permeate her memory for some time to come.

She covers her mouth and forces back a fresh onslaught of tears. She feels a detective place her hand on her elbow to hold her back.

Suddenly she felt her heart drop at the familiar sound of footsteps approaching the scene. Steeling herself, she and the other detectives slowly slowly turn to see John Doggett approaching. The group scatters as he comes closer.

He was reading her face and could tell he already knew what they had found, what they had been afraid of all this time.

As he comes next to her, his face crumples at the sight.

REYES

(sympathetic)

John...

A young boy lays dead on the field. His son.

DOGGETT

Oh God...Oh God no...NO!

Doggett stumbles to his knees and Reyes catches him as he falls. She wraps her arms around him as he cries. Her lips moved, but all he could hear was a deafening silence.

CUT TO:

SCENE 14

PRESENT DAY

Reyes continues to stare at the screen in front of her until her hand started to shake, causing it to drop into her lap.

The familiar memory felt as if it were yesterday even if it was over twenty years ago.

She places her head in her hands and starts to silently weep.

What was her purpose? Who was she? Had she lost sight of herself after all these years?

CUT TO:

SCENE 15

FLASHBACK

UNKNOWN LOCATION

An Expedition makes it's way through the desolate dessert streets. Hours ago Doggett and Reyes had left Mulder and Scully behind while utilizing their vehicle. Doggett stares ahead in silence as Monica looks out the window at the passing scenery, which wasn't much other than tumbleweed.

Reyes turns to analyze Doggett's solemn expression. They hadn't spoken in hours and honestly, she wasn't sure if he knew where they were even going.

REYES

(Suddenly)

What are we doing, John?

DOGGETT

(looking over to Reyes)

What do you mean? We're getting away. Far way from here.

Reyes looks thoughtful for a moment.

REYES:

You're suggesting we become fugitives. We can't do that. If we go back now, we might still have a fighting chance. What are good are we to Mulder and Scully if we're on the run too? Someone has to fight for that basement office. It might as well be us.

DOGGETT

(sighs)

No, you're right. We can't give up now, not after the information Agent Mulder uncovered.

Reyes reaches out across the console, clasping Doggett's hand in hers.

REYES

We'll find a way. We're in this together.

DOGGETT

Do you think they made it out?

REYES

If there's anything I've learned from working with Mulder and Scully, it's that these are people who are exceedingly good at their jobs. They are smart and exceptional at their game. If anyone can get out of this, it's them.

Doggett nods, hoping she is right. He slows the SUV to the side of the road and turns towards Reyes as she moves toward him expectantly. Taking her face into his hands, he pulls her closer as their lips meet.

CUT TO:

SCENE 16

PRESENT DAY

Reyes looks up as the bus continues along, wiping her eyes.

She turns to look out the window of the bus at the ominous passing clouds. At one point, she was vaguely aware of someone asking if she was okay and quickly nodding her head in affirmation.

However, she continued to feel lost and broken. Where would she go now? It had been over a decade since she fled her old like without explanation. Had John moved on without her? What would she do then?

FADE OUT

END ACT TWO

ACT THREE

SCENE 17

FLASHBACK

Reyes is perched in front of a long table opposite the smoking man in an unknown location. The smoking man sits upright, his facial features barely recognizable with recent reconstructive surgery and skin transplantation.

She regards him with narrowed eyes as he begins to speak.

SMOKING MAN

(grinning)

So you've had some time to consider my offer, Monica.

Reyes is evidently irritated and unhappy to be there, but remains silent as he continues.

SMOKING MAN

(taking a draw from a cigarette from his trachea)

You know Monica, you remind me a lot of myself when I was younger. Only I never stopped smoking cigarettes.

Reyes feels her blood pressure rising at the ridiculous insinuation.

REYES

(angry)

I am NOTHING like you.

The smoking man releases another breath of smoke.

SMOKING MAN

(chuckles)

We're more alike than you care to admit.

He reaches over to the pack of cigarettes on the table and takes another cigarette from his pack of Morleys and extends it towards her.

SMOKING MAN

Care for a smoke?

REYES

(firm)

Let's cut the crap.

SMOKING MAN

(unfazed)

You know why I want to offer you a seat at the big table?

Reyes says nothing as he continues.

SMOKING MAN

Because I see potential. I think you have what it takes to turn your back on the whole human race.

No longer being able to stomach the absurdity, Reyes stands up abruptly from her chair and walks toward him.

REYES

(icily)

Then you've sadly mistaken me for someone else.

She turns to walk away, but the smoking man's voice follows her and continues, unphased.

SMOKING MAN

(chuckles)

Agent Scully is already immune. I can give the same offer to my son.

Reyes stops and turns back towards him, shaking her head.

REYES

(scoffs)

They would never go for your plan. Not in a million years.

And neither will I.

The smoking man's grin fades and he decides to quickly get to the point.

SMOKING MAN

(forcefully)

Agent Doggett will die if you refuse.

Reyes opens her mouth to speak, but says nothing.

CUT TO:

SCENE 18

Doggett and Reyes are inside his home. Reyes watches as Doggett paces his living room visibly frustrated. Reyes sits on the couch as she watches him, unsure of what to say. Reyes had just presented him with the smoking man's offer and it's clear the discussion is growing heated.

DOGGETT

I cannot believe you're even considering his offer. He's a liar, Monica!

Reyes sighs, leaning forward to place her head in the palms of her hands, feeling as if she is at a crossroads.

REYES

I know. Damn it, John, don't you think I know that? But if I have even a small chance of infiltrating his plan...

Doggett stops pacing and turns towards her, his face red in anger.

DOGGETT

(voice rising)

After everything he has done to Agent Scully and Mulder, how can you believe a single word that comes from his mouth?

REYES

I had a feeling John...that he wasn't just calling my bluff.

Doggett shakes his head incredulously. He throws up his hands in irritation.

DOGGETT

No...not this again.

Reyes stands and moves toward him, hard pressed to get him to listen to her.

REYES

Why else come to me? He knew I'd see right through him whereas most people wouldn't. That's the power he has.

DOGGETT

Oh, I don't know, Monca, to scare you into doing his bidding? That's what he wants.

REYES

(insistent)

We can use him.

Doggett sighs and shakes his head in frustration.

DOGGETT

(voice rising)

Now you are starting to sound like him. Damn it, Monica, you let him get into your head!

Doggett turns away from her, running a free hand through his hair as he walks towards his window. Reyes follows persistently, trying to get him to listen.

REYES

I don't see any other choice. If what he said comes to fruition, I don't know that I could live with myself knowing I could have done something to stop it.

DOGGETT

And you could live with yourself  by doing his bidding? By being his little puppet?

Reyes sighs, her eyes pleading with him.

REYES

(contemplating)

If it saves you and everyone else, then yes.

Doggett moves towards her, placing his hands on her shoulders as he looks into her eyes.

DOGGETT

Well, I'm telling you not to. No matter what, don't go through with it, Monica.

Reyes feels her eyes start to well with tears.

REYES

I have to. I don't see any other choice.

Doggett's heart is breaking as he takes in what she's saying.

Reyes pulls away, reaching for her purse before turning to leave.

REYES

(voice breaking)

I'm sorry, John.

SCENE 19

FLASHBACK

December 22, 2012

The Smoking Man sits in a chair in a room similar to the one they met in last time shortly after his reconstructive surgery. As Monica Reyes walks over towards him, he gives a come hither motion with his hand as she moves towards him with a freshly lit cigarette in her hand. He grins as he watches her shuffle towards him, unfazed by the scowl on her face.

She brings it to his trachea and he takes a deep breath, enjoying the direct hit of nicotine.

SMOKING MAN

(grinning)

Thank you, Monica.

He releases a breath and she pulls back momentarily. Reyes' hatred of him seethes from every pore in her body and he is unphased.

SMOKING MAN

The final countdown has begun. Within 5 years, the Spartan Virus will be ready to be unleashed. Humankind won't even know what hit them until it's too late.

Reyes says nothing as she watches him. He watches her for a moment before motioning her to come towards him again and she does so with a scowl.

He takes another drag of the cigarette and releases it slowly towards her. She takes a step back as she regards him carefully.

SMOKING MAN

Monica, I gave you a deal. I gave you and John Doggett immunity, but you have yet to deliver your end of the deal. Why haven't you located William's whereabouts?

Reyes narrows her eyes as she considers her next words. She puts the cigarette out in the ashtray next to the smoking man.

REYES

I can assure you I've done everything within my power to locate him. Agent Scully was so concerned for his safety that she ensured he would not be found. Do you think she would have given him up without taking the proper precautions? There's no record of William Scully born in northern Georgia. No record of his birth certificate and nothing from the adoption agency we'd placed him with. They made sure he wouldn't be found and it's likely he no longer exists under the name William either.

The Smoking Man frowns in irritation. He regards her skeptically as he takes in her expression, trying to read her ability to potentially hold back pertinent information from him.

SMOKING MAN

Why do I get the feeling that you are not really trying?

REYES

Adoption records are generally sealed. Being an adoptee myself, I should know. I tried to seek out my own biological parents when I joined the FBI. While I gained access to the adoption records with the additional clearance and credentials, I found nothing I'm afraid. May I ask what your interest in him is? Especially since your son Jefferey took away his powers? What use would he be to you now?

Spender laughs.

SMOKING MAN

I'm afraid I must admit I haven't been as frank as you, Monica. You see, Agent Scully and I have a history.

We took a little trip together back in 2000 and during that trip I impregnated her with the first successful alien human hybrid. William is my creation.

Reyes lets out an audible gasp, clearly disgusted and in shock. She opens her mouth to respond and no words come out.

SMOKING MAN

Don't look so shocked, Monica. We are about to wipe half the population from this planet in a few years' time.

REYES

(disgusted)

You are a very sick man.

SMOKING MAN

(Chuckling)

Maybe so, but you are my accomplice.

REYES

(angrily)

I would never comply with that. Does she have any idea of what you've done?

SMOKING MAN

There are a lot of answers about her son that she does not have. She and Mulder are blissfully unaware that I've been tracking them this entire time all while they play house.

Spender slides an envelope towards her and Reyes swipes it away in irritation. We see her pull out an image of SCULLY.

SCULLY is wearing scrubs and a white lab coat. Aside from her longer, lighter hair, she looks the same as the day she last saw her and Mulder.

REYES

She's working a doctor. Where did you get this?

SMOKING MAN

(chuckles)

Agent Scully works at a local hospital in Washington D.C. it's pretty public knowledge though she is using a P.O. BOX. I'm certain that Mulder is living with her.

SMOKING MAN

We have yet to capture Mulder, but all it takes is a little tip to the FBI to get him to come out of hiding.

CUT TO:

SCENE 20

PRESENT DAY

UNKNOWN LOCATION

Reyes realizes she had been dozing as the bus comes to a stop just outside of WASHINGTON D.C. She waits for everyone else to disembark the bus before she stands. She grabs her phone from the seat cushion and shoves it into her coat pocket.

She disembarks the bus after the other passengers, trying to remain inconspicuous. She feels a pain in her temple, reminding her of her of the near fate she had recently suffered. She touches her forehead, feeling her skin where the bullet hole used to be, but feels nothing. Looking back at her hand she sees nothing.

As the bus starts up again and pulls away, she turns and catches her reflection in it's side mirror. There is no sign of a bullet wound, not even a lingering scar.

CUT TO:

SCENE 21 FLASHBACK

Reyes has traveled to South Carolina to speak with the smoking man once again. They are amidst a discussion inside his home in South Carolina and Reyes is obviously uncomfortable and visibly angry.

SMOKING MAN

(Grinning as he takes a drag from his cigarette)

I knew you'd come, Monica.

REYES

(Seething)

Why me? Why choose me of all the people to do your dirty work?

REYES

We don't know each other. You know nothing about me.

SMOKING MAN

(Chuckling)

That's where you're wrong again, Monica. I don't just know everything about Agent Mulder and Scully, I know everything about you...and Agent Doggett. For the longest time I even had Skinner.

Reyes had known the Assistant Director long enough and had read enough files to be privy to his involvement with the CSM, but she didn't know the extent of their relationship.

She did know that Spender held the A.D.'s life in his hands more times than she could count.

SMOKING MAN

I know you were adopted, your fascination with numerology, your college girlfriend. I even know who your birth parents are. Honestly, I'd prefer Agent Scully, but she'd never go for my plan. You'll have to do.

Reyes couldn't help her eyes going wide at the implication and mention of her birth parents. Her own resources wouldn't allow her to look in that deep, but perhaps if she aligned with Spender, she might be able to be privy to that information as well. However, she would not reveal any weakness to him.

REYES

(steeling her resolve)

You'll be a sad, lonely old man.

The smoking man laughs, unfazed.

SMOKING MAN

That's why you're here, Monica. Loneliness is man's weakness. I can't be alone, even if you despise me but I think you'll see that I have a worthwhile offer.

REYES

I'm listening.

SMOKING MAN

Immortality. Alien DNA. It's what I have.

SMOKING MAN

How do you think I was able to survive a missile strike, Monica? The immunity to what's to come...yours for both you and Agent Doggett if you cooperate.

Reyes takes a deep breath. She is conflicted. With one decision, she could gain or lose everything. She didn't care much about her own fate, but she couldn't bear to lose Doggett. Especially if she knew she could have stopped this supposed impending doom. Maybe there was still a chance.

SMOKING MAN

(softening)

And perhaps, just maybe, I can lead you to your birth parents and the answers you seek.

CUT TO:

SCENE 22

FLASHBACK MEXICO CITY

Reyes is seen sitting in a coffee shop as a woman approaches.

She glances down at the image in her hands and then back at the woman who has just entered the coffee shop.

She shifts anxiously, unsure if this is the right choice. She hadn't had any desire to meet her birth parents growing up.

She loved her Tia and her adopted parents, as busy as they always seemed to be.

Reyes watches the woman as she orders her beverage, watching for telltale mannerisms that bore any resemblance to her own.

The way she walks and talks as she ordered. The woman was tall and slender, just like herself and for the first time in years, she is more curious than ever why she was given up for adoption.

She realizes she is lost in thought as the woman walks up to her and she realizes she has no idea what to say to this woman who is both her mother and also a stranger.

WOMAN

(nervously)

Hola.

REYES

(standing)

Uh...hi

WOMAN

(In Spanish)

I never thought this day would come.

The woman suddenly pulls Reyes in for a hug as the woman laughs and cries at the same time.

REYES

You speak English too.

As soon as the woman pulls back, she reaches up towards Reyes' face and holds a lock of her hair in her hand.

WOMAN

I can't believe it. My sweet baby is here, after all these years.

Reyes is not normally an emotional person, but tears welled in her eyes. It is an emotional moment.

WOMAN

I waited so long for you to come, for you to find me. With the political climate being what it is...travel has not been easy.

Reyes nods and moves to sit. Her biological mother, Graciela, moves to sit.

REYES

(Struggling to speak)

I don't know where to start.

GRACIELA

Did...did you have a good childhood?

REYES

(Nodding)

Yes. I did, my parents took good care of me. They were always busy people, but I also had my Tia.

Graciela nods, her eyes full of unshed tears.

GRACIELA

Good. I'm glad. I...I never forgot about you. My baby.

Reyes looks down at her hands as she plays with a straw wrapper.

REYES

Why did you give me up?

GRACIELA

(Watching Monica nervously)

As you might know, things are different here. I was married off at fifteen, but later I got pregnant out of wedlock and I was forced to give you away.

Reyes opens her mouth to speak, but no words come out.

GRACIELA

(Sniffling)

I didn't want to, but I had to. I had to hide the pregnancy and keep you a secret.

REYES

(Taking a deep breath)

Do I have any brothers or sisters?

GRACIELA

You have two brothers and one sister. Julian, Carolina and Pablo.

REYES

(Laughing nervously)

Wow...I don't suppose they know about me do they?

GRACIELA

(Shaking her head)

No, I couldn't mention you..it was forbidden. My husband doesn't know I'm here right now.

REYES

Do you know my father?

GRACIELA

(Regretfully)

I'm sorry.

Before she continues, Reyes already has a bad feeling.

GRACIELA

He was executed when they found out about you. The cartel...my husband works for them.

Reyes nods slowly and reaches for her birth mother's hand.

REYES

Does he...has he hurt you?

Graciela shakes her head profusely.

GRACIELA

No. I mean, not in a long time.

REYES

If he has...I can help. I work for the FBI.

Graciela emits a gasp and pulls her hand back suddenly.

GRACIELA

No. Please...no cops.

REYES

Okay. It is different in America, you don't have to be afraid.

GRACIELA

(Changing the subject)

So my girl works for the FBI. You must be very educated. Are you married...have children?

REYES

(Shaking her head)

No. Unfortunately that is a path I did not travel, but I met someone. He too works for the FBI and you could consider him my soulmate...but I had to make a difficult choice to keep him safe.

GRACIELA

Just like I had to keep you safe, Mi Amor.

REYES

(Nodding)

Si.

GRACIELA

You will find him again. I know it.

Reyes smiles. She is overwhelmed with this information.

GRACIELA

Before I had to give you away, I only had one request.

REYES

(Curiously)

Which was what?

GRACIELA

We wanted to give you the name Julieta.

FADE OUT

END ACT THREE

ACT FOUR

SCENE 23

PRESENT DAY

OUR LADY OF SORROWS HOSPITAL

WASHINGTON D.C.

Skinner sits upright in his hospital bed. He felt fortunate that his authority allowed him the comfort and privacy of his own bed. Both his legs are in large casts, propped in an upright position as he works on his lunch while watching TV.

He would soon start physical therapy and only time would tell if he would make a full recovery or not.

He turns as he hears a sudden knock on the door and sets his food to the side.

SKINNER

Come in.

The door opens and Skinner is surprised to see Doggett.

DOGGETT

(Hesitates)

Sir...I heard about what happened. I mean, I'm not sure exactly what happened out there, but I'm glad to see you alive.

Skinner watches as Doggett shuffles uncomfortably and runs his hand through his hair.

SKINNER

You're a sight for sore eyes, Agent Doggett. Where have you been?

DOGGETT

We've been preparing to fight back, picking up where Mulder and Scully left off.

SKINNER

And Monica?

DOGGETT

We were together for some time after the X-Files together. We were tracking the super soldiers for years and trying to find a way to fight back.

SKINNER

(Incredulously)

I never thought I'd see the day when John Doggett would admit to believing in something alien.

Doggett musters a small smile.

DOGGETT

And then one day, the smoking man got inside her head and I lost her.

SKINNER

(Sympathetic)

I'm sorry, John.

DOGGETT

I just don't understand, but if I've learned anything about Monica, it's that she knows what she's doing.

SKINNER

Unfortunately, John, lots of us have fallen prey to Spender's sick and twisted games.

DOGGETT

It's what I was afraid of, that she would get in too deep.

Dogget shakes his head, not wanting to relive the painful memories.

DOGGETT

When do you think you'll be able to get out of here?

Skinner looks away for a moment, hesitating.

SKINNER

(Solemnly)

It's possible I could be paraplegic for life if physical therapy doesn't work.

Doggett sighs heavily.

DOGGETT

(Empathetic)

I'm sorry, sir.

Skinner senses something is weighing on Doggett's mind.

SKINNER

What is it, Agent Doggett?

Doggett thought long and hard about how to ask this question, but nothing sounded quite right. May as well bite the bullet, he figured.

DOGGETT

(Sighing)

Why did you shoot Monica?

Skinner looks away, shaking his head with regret.

SKINNER

You're also a military man, Agent Doggett. I don't know if you've ever been in a situation where you've had to kill someone for the greater good. I once shot a young boy.

A thick melancholy fills the air as Skinner turns back to meet Doggett's gaze. He heaves a heavy sigh as he speaks.

SKINNER

John...I-I didn't want to. I know she was under the control of that chain smoking sonofabitch, I was just trying to stop them before they gunned me down. I'm sorry...if she really is gone then I'll have that guilt on my conscious for the rest of my life. She was a good Agent and I'm certain she had her reasons for doing his dirty work.

DOGGETT

She wasn't. If I know anything about Monica is that she gives everything to doing what's moral and just.

SKINNER

(Nodding with a sigh)

You're right, I'm sorry.

DOGGETT

I also have good reason to believe she might be alive. Her body was missing from the crime scene.

Skinner gasps and looks up at Doggett. He's almost afraid to believe it, fearing he may ultimately get his hopes up.

SKINNER

Well, find her so I can personally give her my deepest apologies.

CUT TO:

SCENE 24 FBI HEADQUARTERS

WASHINGTON D.C.

A.D. Erickson raps on the door to Kersh's office. It is after hours and much has to be discussed. Kersh opens the door with a solemn expression.

KERSH

I've been expecting you, Assistant Director.

ERICKSON

I apologize for the late hour, I'm sure you're about to head home.

Erickson follows Kersh into his office as Kersh walks towards his office window to peer out at the darkness and the city lights that illuminate the city. He turns away from his office window to face her and motions to the chair in front of his desk.

KERSH

Have a seat, Assistant Director.

A.D. Erickson nods and sits down in an empty chair by Kersh's desk.

ERICKSON

How is A.D. Skinner doing sir?

KERSH

No change at the moment. He will be undergoing physical therapy quite soon.

ERICKSON

Good, I do hope he makes a full recovery soon.

KERSH

(impatient)

I trust you have news.

ERICKSON

Yes and I think it's something of interest to you and to the FBI.

Kersh watches her and she hesitates for a moment before continuing to speak. If he didn't know any better, he would guess she's nervous.

KERSH

I'm listening.

ERICKSON

Well, though our initial search team in locating Reyes was unsuccessful, it appears she has come straight to us. She was spotted on an external building security camera earlier today. Unfortunately, local law enforcement and the FBI is not privy to her current whereabouts.

Kersh regards her carefully and opens his mouth to speak, but Erickson continues.

ERICKSON

Per your request sir, I have not informed Agents Mulder or Scully because as I understand, Agent Reyes is close with them. They would be sympathetic to her situation. Which, given their history, would make them susceptible to breaking the law if given the choice. We can't have that for the FBI as she's now a wanted criminal.

Kersh nods and moves to stand in front of his desk.

KERSH

Mulder and Scully don't care about the FBI's reputation if you haven't already noticed. They're only here because I want answers. From them and from Agent Reyes as well.

Erickson smiles as she stands and walks towards the door.

ERICKSON

All the more reason why they won't know. We have nothing to worry about, sir.

ERICKSON

But there is another person who seems to be searching for Agent Reyes. A former Agent Doggett?

KERSH

He's been reassigned for some time now. Rumor has it that he and Agent Reyes were also lovers.

ERICKSON

(laughs nervously)

Something about that basement office, huh?

KERSH

Assistant Director, I trust you will find Agent Reyes and have her properly apprehended.

ERICKSON

(nodding)

Of course, sir.

KERSH

You'll bring her to me first, understood?

Erickson nods.

KERSH

Good. You're excused Assistant Director.

A.D. Erickson moves to stand and walks towards the door.

ERICKSON

(turning to face Kersh)

Oh and sir, you might want to think about getting some extra lighting in this office. It's not good to sit in the dark all the time.

Kersh says nothing and Erickson smiles before she slips out the door. He watches the doorway for several moments before turning back to look outside the window.

KERSH

(muttering to himself)

I have yet to see a sun rise from this office.

CUT TO:

SCENE 25 BALTIMORE, MD

DOGGETT RESIDENCE

Doggett returns home a short while later and flips on the light switch, immediately illuminating the darkness of his home. After closing and locking the door, he sheds his coat and walks into the kitchen.

The day's events have caught up to him and he starts to fear the worst about Monica. What if he never found her and got the answers he desperately sought?

A PHOTO of himself and Reyes is seen on the counter and he picks up and holds it for several moments. The photo is from 2002 and they are embracing and smiling at the camera. He slowly runs his index finger over the image of the two of them.

Outside a figure peers inside the home.

CAMERA CLOSES IN ON REYES.

Reyes watches from outside as Doggett picks up a photo all too familiar and reminiscent of happier times. He stood that way for several minutes. No longer able to bear the sight anymore, she turns away from the window and slumps to the ground, starting to sob. She clamps both hands over her mouth to stifle the sound.

FADE TO BLACK.

END ACT FOUR

THE END


End file.
